WAYANG KULIT AND THE GROWTH OF ISLAM IN JAVA Liliek Adelina Suhardjono Visual Communication Design, School of Design, Bina Nusantara University Jl. K. H. Syahdan No. 9 Palmerah, Jakarta Barat, 11480 [email protected] ABSTRACT This article intended to examine the circumstance of wayang kulit during the coming of Islam in the Java island of Indonesian archipelago; how it changed and held functions within the Islamisation process of the region. The lack of written materials made this issue was somewhat unclear. In exploring these issues, this article would explain some elements surrounded Javanese wayang, specifically during the Islamisation period of Java. By showing several examples of wayang kulit characters, whether or not wayang had undertaken adaptations during this era and how far was observed. The method of this was from the data collection for that largely originated from academic books and journals from both western and Indonesian scholars, and then some visual examinations would be done upon them. The observation of each object aims to show that while to some extent wayang did undergo some alterations during this Islamisation period, however the core value of wayang performance itself was still largely Javanese, principally and aesthetically. Keywords: wayang kulit, javanese performance, islamisation process, Islam growth INTRODUCTION The term wayang kulit consists of two words; they are wayang and kulit. Wayang is derived from the word baying that means shadow and the word kulit means leather that is exactly the main component in the making of wayang. With combining these two words, we will get a depiction of a shadow puppet performance in the form of storytelling. The shadow of the puppets and the masteris called dalang who conducts a wayang performance. There have been some discourses among the western scholars, such as G.A.J. Hazeu, Brandes, and Rassers, as well as Indonesian scholars, such as Soeroto and K.P.A. Kusumodilogo regarding the origin of the Javanese wayang (Mulyono, 1978). To sum up their various opinions, most of the scholars agree that the Javanese wayang was originally coming from either indigenous Java or Hindu-Java (Java with Hindu influence) (Mulyono, 1978). Wayang kulit is perhaps one of the most archaic surviving traditions of storytelling using a shadow play in the Java, Indonesia, and probably in the world. Shadow play theatre is said to have its roots in many places in the world such as India, China, Egypt, Turkey, Southeast Asia (Indonesia, Malaysia, and Thailand), and Europe (Dahlan & Ahmad, 2012). However, the origin of Javanese wayang kulit itself is largely unknown. Wayang kulit has various stories, such as the wars between the good and the bad, some profound philosophies, spirituality and mysticism, some great love stories, comedy, and even political commentaries. It has been educating and entertaining Javanese people throughout centuries. The camaraderie is lasting even today, even when there had been so many shifts of ruling kingdom in the land of Java; from the pre-historic time to the Hindu-Buddhist period, the Islamic period, the Dutch and Japanese colonialism, and now at the time of Indonesian independence. This article aims to analyse the state of wayang kulit during the coming of Islam in Java, how it adapted and how it hold any roles with the Islamisation process of the island. In exploring these Wayang Kulit And The Growth ….. (Liliek Adelina Suhardjono) 231 subjects, this article starts by briefly explaining the several elements surrounded Javanese wayang in general. It will then gradually move to a more specific period, namely the Islamisation period of Java. Here it will examine whether or not wayang has undergone alterations and how far. Intertwining in this part, there will be shown some examples of wayang kulit characters to illustrate how they were adjusted to conform to the Islamic traditions and what was remain unchanged despite the alterations. The analysis of each object aims to maintain that even though to some extent wayang did experience some transformations during the Islamisation period, however, the whole wayang performance itself was still largely Javanese. Indeed, while Islam arguably has made some changes to wayang kulit, at the same time they have also unleashed even a greater effort to make themselves fitted into wayang. They did so to be able to use wayang as a media to spread the teaching of the religion. Meanwhile, the large parts of the wayang itself remain unchanged and still hold Javanese fundamental values until today. METHODS This article deals with the wayang kulit shadow play, a living culture that has been crafted and performed for a very long time in the land of Java. However, not until the eighteenth century that western scholar started to put some interest in the subject and observed them academically. That being said, there is a lack of written material from the period of the coming of Islam in Java (around the fourteenth century). Despite the fact that there was just a handful of scholarly information about wayang, the data collection for this writing primarily derived from academic books and journals that written by both western and Indonesian scholars. The Arabic letters will be treated as the graphic representation, and some visual examinations will be done upon them. RESULTS AND DISCUSSIONS The Javanese philosophy can trace back from the prehistoric animist time when the native populations developed the notion of spirits of ancestors, bonding with a single divine being that later acknowledged as Sang Hyang Tunggal (Irvine, 1996). Some people believe that initially Javanese wayang was heavily related to the ritual worship of ancestral figures (Soerotoas cited in Mulyono, 1978). Before the dalang presents the wayang performance, he will first incorporate appropriate offerings and some treatments of spreading the smoke of incense over the wayang figures since they were perceived as sacred objects. These ritualistic actsare often times preceded with several days of fasting and are still practiced even in today’s setting. Another feature of mystic elements is also indicated by the timing preference where the stage is normally performed between sunset and sunrise – a period of time when it is believed that the spirits travel more easily. Moreover, wayang kulit both in the past and present times is performed to invoke the blessing from the ancestors on special occasions such as childbirth and wedding. Besides, it helps during the time of sickness or disasters (Ulbricht, 1970). The example of wayang kulit performance can be seen in Figure 1. 232 HUMANIORA Vol. 7 No. 2 April 2016: 231-241 Figure 1 Wayang Kulit Performance by the Dalang (Source: http://images.fineartamerica.com/images-medium-large/the-wayang-kulit-of-drama-mario-bennet.jpg) For centuries before the coming of Islam to Indonesia, the western part of the Indonesian archipelago was influenced by Hindu belief. This influence was asserted into Java and formed a Hindu-Javanese society and art (Krom N.J. as cited in Josselin de Jong, 1977). These were a long-span period encompassing several big kingdoms such as the Kingdom of Mataram, Kediri, and Majapahit. Applied into wayang, these Hindu elements materialized for example in the use of Hindu literature, such as Ramayana and Mahabharata. Ramayana in its original form is a Sanskrit poem based on Hindu literature that attributed to the sage Walmiki, while Mahabharata is attributed to the sage Wiyasa (Poedjosoebroto, 1978). Hazeu established an autochthonous ritual that was alive in the Javanese wayang and the Hindu elements had mingled together with the indigenous tradition (Josselin de Jong, 1977). The assimilation of the cultures appears among others in the use of Javanese setting and the insertion of some local episodes in those Indian epics (Zoetmuelder as cited in M.C. Ricklefs, 2006a). This early influence was in line with the Orientalist portrayal of Java where the real Javanese faith was depicted as a largely undefined mixture of Hinduism and/or Buddhism expressed in classical dance, the wayang, the music (gamelan), and numinous sects (Woodward, 2011). At the time of the fall of Majapahit Kingdom around 1478, there had been many of regional rulers in the Javanese coastal line that had already embraced Islam. One of the most prominent coastal kingdoms that have emerged at that time was Demak Sultanate (1478 – 1548). After the collapse of Majapahit kingdom, Demak Sultanate under the reign of Raden Patah (the son of Prabu Kertabumi of Majapahit) took over all the Majapahit’s ceremonial attributes and brought it to Demak, including all the wayang equipment (Haryanto, 1988). At this period, Islam widely spreads in the Java Island, through the da’wah (teaching) from a group of Islamic leaders called Walisongo (literally The nine Walis, the Islamic leaders who spread Islam religion to Java). Since the beginning, there was a significant problem between wayang tradition and Islam. There were several wayang elements that deemed inappropriate according to Islamic culture. For example, the form of wayang that resembles a human figure, some narrations that did not contain Islamic elements, and the tales containing Gods and Goddesses that were counted as idolatry (Poedjosoebroto, 1978). Some sources believed that there had been disunity among the Walis (one who is near to God) themselves, making them separated into two groups. These groups are Islam Putihan (literally means white) and Islam Abangan (literally means red) (Fattah, 1985). Islam Putihan is under the leadership of Sunan Giri that strictly obeyed Islamic law and therefore utterly rejected the presence of wayang. Meanwhile, Islam Abangan is under the leadership of Sunan Kalijaga that aspired to embrace the current popular tradition including wayang and slowly converted Javanese people through subtle changes while imparting Islamic teaching over the time (Fattah 1985: 38-41). Actually, the use of the term Putihan and Abangan is actually quite problematic since according to Ricklefs Wayang Kulit And The Growth ….